Monokino and artist Stanley Schtinter join forces for a pub crawl in Ostend. The Lock-In departs from the legendary British soap opera EastEnders, using only the scenes set in the local pub.
“An epic film . . . the Warholian result is a spellbinding – and frequently baffling – meditation on time.”
Jonathan Jones, The Guardian
THE LOCK-IN
STANLEY SCHTINTER — UK, 2022 – video – 6000’
AFTER TIME
THERESE HENNINGSEN – UK, 2023 – video – 34’
| 17/05 | TICKETS | |
| 20:00 | STANLEY SCHTINTER, The Lock-In (excerpt) THERESE HENNINGSEN, After Time |
in KAAP |
| 18/05 | GRATIS | |
| 12:00-19:30 | STANLEY SCHTINTER, The Lock-In (1993) | in ‘t Kroegske |
| 12:00-23:00 | STANLEY SCHTINTER, The Lock-In (2003) | in KAAP |
| 17:00-04:00 | STANLEY SCHTINTER, The Lock-In (2013) | in Zeegeuzen |
The Lock-In is a film that uses as its source the British soap opera, EastEnders, using only the scenes that happen inside the Queen Vic pub.
The Lock-In is one of the longest films ever made, at over 6000 minutes. It is, in fact, “endless” inasmuch as its source is endless and its makers living.
The Lock-In was premiered as a “working-week” film of four days and four nights at the International Short Film Festival Oberhausen, Germany (May 2022), and later exhibited continuously during opening hours at the Barbican Centre in London (July 2022).
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The Lock-In’s extension premieres in Oostende, with Monokino hosting four events across the city. On May 17, a 45-minute excerpt of The Lock-In will screen at KAAP, along with the documentary about the project, titled After Time, by Therese Henningsen.
On May 18, The Lock-In will be screened across three bars in Oostende, at a total combined running time of 30 hours. Each bar will screen one year in a day: that is all of the pub scenes from 1993, and from 2003, and from 2013. These years have been chosen to mark the times the ferries stopped travelling between Dover, on the East coast of England, and Oostende.
Each screening lasts an average of ten hours and attendance is free for drinkers.
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In the English language, a “lock-in” is defined as a “period during which customers are locked into a bar or pub after closing time to continue drinking privately.”
The Lock-In is by Stanley Schtinter, an artist and writer who Sight & Sound magazine describe as “the witchfinder general of cultural complacency.” Other recent projects include Last Movies _[Tenement Press, Bristol / ICA, London, 2023] and _Important Books (or, Manifestos Read by Children) [Whitechapel Gallery, London, 2021-2022].
After Time is by Therese Henningsen. It is a mid-length documentary film following The Lock-In on its tour of East End pubs in London in 2022. Henningsen’s films include Slow Delay (2018), Baby Jesus and Maintenancer (2023 and 2018, with Sidsel Meineche Hansen). In collaboration with Juliette Joffé, she has co-edited the anthology Strangers Within: Documentary as Encounter (Prototype, 2022).
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Artistic coordination: Anouk De Clercq, Godart Bakkers
General coordination: Ditte Claus
Artistic team: Eric de Kuyper, Xavier Garcia Bardon
Production team: Bob Mees, Jef Declercq, Johan Opstaele, Noah Heylen
Communication: Cynthia Vandenbruaene
Graphic design: Michaël Bussaer. Webdesign: Dominique Callewaert.
With the support of Auguste Orts, CINEMATEK, KAAP, KASK School of Arts Gent, Onderzoeksfonds Universiteit Gent, Vlaams Audiovisueel Fonds.
Whoever walks in Ostend today is confronted with a fantastic eclecticism: a brutal grey apartment block exists next to the glorious Thermae Palace. The mighty, almost Stalinist, building of De Grote Post dominates the Hendrik Serruyslaan. A former department store houses a museum for contemporary art. Belle-époque houses are hidden in the quiet but stately streets.
In 2017, one void struck artist Anouk De Clercq: that glorious film culture of Henri Storck, James Ensor or Raoul Servais had disappeared from the streets. With the closure of the Rialto cinema, the last independent cinema from the Ostend cinema circuit also disappeared. Against such an extraordinary backdrop, with the sea as a large projection surface for images, stories and histories, that is such a shame.
And so the idea of Monokino ripens: one room, marked by an equally fantastic eclecticism, where cinema can be itself again. One room where long and short films, film classics, auteur cinema, video art, experimental films, animation, or the work of young makers can find a place. Monokino shows, questions, responds, engages in conversation, invites, welcomes, puts in perspective. Monokino is a place of, by and for people from Ostend, for professionals and enthusiasts, for young and old, for those from here and those from there.
The films that Monokino wants to show don’t only live on the screen. They also spread between residents, spectators, and makers. In that sense, Monokino is also Kopfkino: a mental cinema, where images get the chance to live and multiply.
That’s how Monokino drifts nomadically through those eclectic streets of Ostend and settles in the heads and hearts of the people of Ostend. Soon it’ll moor for good.
Monokino wants to drive cinema into the 21st century and illuminate the adventurous side of film. While we strive for a permanent place as anchorage for cinefiles from Ostend and beyond, Monokino operates as a nomadic film platform.
The sea is Monokino’s favourite projection surface for images, stories and histories. In anticipation of our next screening, we’ve started to collect a list of films in which the sea plays a main or supporting role. Can you think of a film that’s not already on our list? We’d love to hear about it via info@monokino.org.
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